The 39 Steps

I was delighted to accept an invitation to see the latest offering from The Windmill Players, The 39 Steps.

Patrick Barlow’s stage adaptation of The 39 Steps, based on John Buchan’s classic novel and Alfred Hitchcock’s 1935 film, is a fast-paced comic thriller that blends mystery, romance and parody. It follows the adventures of Richard Hannay, an ordinary man who becomes embroiled in a web of espionage after a chance encounter with a mysterious woman. When she is murdered in his London flat, Hannay finds himself accused of the crime and pursued by both the police and a shadowy spy organisation known as “The 39 Steps.”

Fleeing to the Scottish Highlands, Hannay encounters a host of eccentric characters, survives daring escapes, and unravels a plot to smuggle vital military secrets out of the country. The play is renowned for its ingenious staging, in which a small cast — often just four actors — perform dozens of roles, creating a whirlwind of locations, costume changes and quick-fire humour.

Barlow’s adaptation transforms Buchan’s gripping spy tale into a brilliantly inventive theatrical experience, combining the suspense of the original story with a knowing send-up of its genre, resulting in a show that is as hilarious as it is thrilling.

This interpretation of the story was directed and designed by Colin Johnston, who did an admirable job in his dual role. I can only imagine how complex his task was at times and that he must have been spinning more plates than are found in the average kitchen cupboard! The relatively simple staging gave Johnston’s cast the ability to transform themselves and the set with ease, and this approach was instrumental in maintaining the play’s flow. He kept the stage reasonably bare and endlessly flexible, with set and props flying on and off in record time, in line with the twists and turns of the narrative. Clearly, Johnston had his cast well-drilled and had spent considerable time and care on the fine details of the characterisation. This paid off in spades on the night.

The cast of four actors played literally dozens of characters between them, with quick character changes the order of the day. Was every character a total success? No. Was every accent pitch-perfect? No. Did it matter? Not particularly! A good deal of the show’s comedy comes from the fact that you’re watching a very small troupe of actors desperately leaping from one character to another at lightning speed, all while holding together the increasingly complex plot. At times, the pacing of the play suffered, but I suspect that by the end of the run this will have evened out, as these things often do. I saw the play on opening night and it was clear there were a few bugs to iron out, but knowing the quality of this outfit’s previous work, I’m sure they were.

Mark Edmonds played the show’s protagonist, Richard Hannay, and he was both energetic and expressive throughout the evening. His task was far from straightforward, and the sheer amount of dialogue for him to remember was mind-boggling at times! Edmonds had a good grip on his character and was able to guide the audience through the complex narrative with consummate flair. He had excellent physicality and a great turn of pace around the stage — a ball of nervous energy from the outset — and I’m sure he was exhausted by the time the curtain fell!

Tina Warren was cast in a trio of challenging and important roles: Annabella Schmidt, Pamela and Margaret. Like Edmonds before her, Warren had a lot to do on stage and tackled the task with energy and efficiency. She is a particularly expressive actor and is to be highly commended for her withering looks, which she fired at the other actors without hesitation. At times, I felt she had another level she was yet to tap into, but again, I was watching the opening night and am sure she will have settled into the roles more comfortably as the run progressed.

Rounding out the cast were Emma Louise Davies as Clown 1 and Marc Adams as Clown 2 — and were I wearing a hat, I would take it off to them in admiration. Between them, they played more characters than I care to comprehend, and I suspect it took every last ounce of energy in their bodies to do so. Their work rate on the night was extraordinary and they formed a hugely impressive comedic double act. The two brought a lightness and a joy to the piece and were a delight to watch. At times, the task became almost unmanageable for them and they faltered on some lines, but given the enormity of the challenge, I’d have been amazed if they hadn’t! Congratulations to both on a wonderful evening of work.

The lighting was a hero in The 39 Steps, and Martin Judge should be highly commended for his efforts. He had a lot to do on the night, but his conscientious and creative work underpinned and elevated the world of the play. He created atmosphere, tension and joy with apparent ease.

Props were managed by Marjorie Brown, Karen Rogerson and Caron Wood, and given the sheer amount of props required in this play, it’s clear why a trio was necessary. Admirable work by all three. Similarly, Angela Hudson had a great number of costumes to get her cast into, and seemingly did so with ease.

This was a strong showing from The Windmill Players, and I thoroughly enjoyed my evening at the Cre8iv Little Theatre. A bold choice of play, which succeeded because everyone on stage (and behind it!) threw themselves into the performance without reserve. Massive congratulations to everyone, and good luck with whatever comes next for you. Thank you for the invitation and warm welcome, as always.

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